民族性与文化身份认同——当今中国作曲家思想焦点研究之二

发布时间：2018-05-03 13:32

本文选题：全球化 + 中性化　；参考：《中央音乐学院学报》2010年01期

【摘要】：民族性是20世纪以来中国作曲家主动或被动思考的问题,也是他们一直奉行的"借鉴西方技法创作中国风格作品"信条的重要方面。作曲家有各种看法,如体验民间生活、吸取民间音乐素材、民族性体现在神似而非形似、寓民族性于个性之中而不需要特别强调等等。改革开放以来又涉及文化身份认同问题,他们自觉或不自觉地进行文化身份认同。显然,民族性问题与文化身份认同问题是密切相关的。本文认为要明确"民族"的家族、族群和民族(国家)层次,文化身份的强调恰恰说明它的丧失;"神似"的落实需要考虑音乐的特殊性;这两个问题应该放在全球化背景中思考,特别要考虑环境和人的主体性的"中性化"现状,认清"自然多元"与"人工多元"的不同。
[Abstract]:Nationality is a problem that Chinese composers have been thinking actively or passively since the 20th century. It is also an important aspect of their creed of "drawing lessons from Western techniques to create Chinese style works". Composers have a variety of views, such as experiencing folk life, absorbing folk music materials, nationality reflected in the divine likeness rather than form similarity, the national character in the personality without special emphasis, and so on. Since the reform and opening up, they also involve cultural identity, they consciously or unconsciously carry out cultural identity. Obviously, the issue of nationality is closely related to the problem of cultural identity. In this paper, the author thinks that the emphasis of cultural identity on the family, ethnic group and national (state) level of "nation" is precisely an explanation of its loss, and that the implementation of "divine resemblance" needs to consider the particularity of music. These two problems should be considered in the background of globalization, especially considering the "neutralization" of environment and human subjectivity, and recognizing the difference between "natural pluralism" and "artificial pluralism".
【作者单位】：中央音乐学院音乐学研究所;
【基金】：2002-2003年度教育部人文社会科学重点研究基地重大课题《20世纪80年代以来的中国器乐创作研究》,批准号02JAZJD760002
【分类号】：J607

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